{"id":4183,"date":"2014-01-23T05:00:31","date_gmt":"2014-01-23T03:00:31","guid":{"rendered":"http:\/\/blog.erm.ee\/?p=4183"},"modified":"2014-05-07T08:39:11","modified_gmt":"2014-05-07T06:39:11","slug":"miks-kaasav-oppimine-on-muuseumidele-kasulik","status":"publish","type":"post","link":"https:\/\/blog.erm.ee\/?p=4183","title":{"rendered":"Miks kaasav \u00f5ppimine on muuseumidele kasulik?* \/ Why inclusive learning works for museums?"},"content":{"rendered":"
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Kirsty Marsh, Londoni Linnamuuseumi kaasamisprogrammide juht<\/i><\/p>\n

Minu arvates on muuseumide jaoks praegu vastuoluline aeg. \u00dchelt poolt areneb kaasav \u00f5ppimine suure kiirusega, \u00fcle maailma on loodud palju k\u00f5rgekvaliteedilisi sotsiaalselt olulisi projekte. Esimesena meenuvad suurep\u00e4rase rahvusvahelise orjandusmuuseumi programmid Liverpoolis, Dar Es Salaami rahvusmuuseumi albinismi ja leseks olemist k\u00e4sitlevad haridusprogrammid ning Chicagos Hull-House\u2019i muuseumis loodud innovaatiline piire \u00fcletav programm, mis vaidlustab kampade kohta k\u00e4ivaid m\u00fc\u00fcte. Neid projekte juhtivad inimesed v\u00e4\u00e4rivad kiitust, kuna t\u00f6\u00f6 taoliste teemadega ei ole lihtne. See on hea uudis. Halb uudis on rahvusvaheline rahastamise olukord. Ilmselgelt varieerub see riigiti ja regiooniti, kuid suurem osa rabeleb, et olemasoleva rahaga toime tulla. Kui mitmed osakonnad v\u00f5itlevad saamaks rahastust samast rahapajast, siis kuidas kaasata sellisel juhul k\u00fclastajaid muuseumi sisulisse tegevusse? Allpool pakun sellele k\u00fcsimusele m\u00f5ned vastused.<\/p>\n

1. Kaasaja lood saavad kaasates t\u00e4psemad<\/h3>\n

See v\u00f5ib tunduda ilmselge, kuid sageli unustatakse \u00e4ra. Muuseumis mittet\u00f6\u00f6tavate inimeste kaasamine ei t\u00e4henda akadeemilise ranguse asendamist anekdootlike t\u00f5lgendustega. See t\u00e4hendab inimeste kokkutoomist muuseumist ja v\u00e4ljastpoolt, maalimaks terviklikku pilti. Londoni Linnamuuseumis on v\u00e4ljapanek Brixtoni t\u00e4navarahutustest, mis toimusid L\u00f5una-Londonis 1981. aastal. See loodi muuseumit\u00f6\u00f6tajate ja \u00fclest\u00f5usu l\u00e4bi elanud kohalike \u00fchist\u00f6\u00f6na. Osalenute meenutused, mida koguti kui suulist ajalugu, annavad v\u00e4ljapanekule uusi infokihte ja esitavad arusaamu, mis ei oleks muul moel muuseumisse j\u00f5udnud.<\/p>\n

\"muuseumit\u00f6\u00f6taja<\/a>Muuseumit\u00f6\u00f6taja intervjueerimas Brixtoni t\u00e4navarahutustes osalenut. Foto: http:\/\/flic.kr\/p\/5AKiFg<\/a>
\n<\/em><\/p>\n

2. Osalus on meetod \u00f5ppimiseks<\/h3>\n

Ilmselt on muuseumides hoiul palju lugusid, mis juhtusid ammu enne meie s\u00fcndi. Sellisel juhul ei saa inimesed v\u00e4ljastpoolt muuseumi endaga m\u00e4lestusi kaasa tuua, kuid nad toovad k\u00f5rvalseisja vaatenurga. Kaks aastat tagasi korraldas Londoni Linnamuuseum koos noortega vanuses 16\u201324 n\u00e4itust roomaaegsest Londonist. Osa noortest oli seda perioodi \u00f5ppinud, m\u00f5ned aga mitte. Noored pakkusid v\u00e4lja v\u00e4rskeid ideid ning uusi t\u00f6\u00f6tamise viise. Nad aitasid muuta muuseumi t\u00f6\u00f6meetodeid ning \u00f5ppisid n\u00e4ituse tegemise k\u00e4igus k\u00f5ik midagi ka roomaaegse Londoni kohta.<\/p>\n

\"Museum<\/a>Noorte tehtud vitriin roomaaegset Londoni kajastavalt n\u00e4ituselt. Foto: Pille Runnel, 2013.
\n<\/em><\/p>\n

3. See on l\u00f5bus!<\/h3>\n

Oota, kuni oled seda ise proovinud. Usu mind, ma ei valeta.<\/p>\n

4. Publikule p\u00fchendumise n\u00e4itamine kasvatab omakorda publiku p\u00fchendumist<\/h3>\n

Kui muuseum annab m\u00f5ista, et on huvitatud inimeste kaasamisest kogumaks lugusid inimeste ja paikade minevikust, hakkavad inimesed muuseumi rohkem m\u00e4rkama. Londoni Linnamuuseumis Dockland\u2019is on v\u00e4ike kaasaegsele Ida-Londonile p\u00fchendatud galerii, mille iga elemendi loomisel tehti koost\u00f6\u00f6d erinevate kohalike gruppidega. \u00dcks osa galeriist on n\u00e4iteks kohalike teismeliste kujundatud Monopoli m\u00e4ngulaud, teine osa on fotoseeria ning helisalvestused piirkonna 80\u2013100-aastastelt elanikelt, kolmas on kohalikult kunstnikult tellitud Ida-Londoni kaart. Kohalikud tunnevad nende esemetega tugevat sidet ning toovad ka oma s\u00f5pru ja sugulasi v\u00e4ljapanekut ikka ja j\u00e4lle vaatama. \u00dchekordse muuseumik\u00fclastuse asemel saavad neist regulaarsed k\u00fclastajad.<\/p>\n

5. Muuseumid ei ole ajaloo omanikud<\/h3>\n

Ajaloo jutustaja positsioon on privilegeeritud ja v\u00f5imas, kuid muuseumid ei tohi seda t\u00f5e valdajatena k\u00e4itudes kuritarvitada. Meil k\u00f5igil on midagi \u00f5ppida ning lugudel on alati olemas ka m\u00f5ni teine perspektiiv. Mida rohkem inimesi saab lugudesse panustada, seda olulisemaks saab muuseum k\u00fclastajale.<\/p>\n

 <\/p>\n

* Kirsty Marsh esineb 27. jaanuaril Eesti Rahva Muuseumis toimuval konverentsil MusKul{A}tuur<\/a> , mis on sel aastal p\u00fchendatud muuseumiosalusele ja k\u00fclastajate kaasamisele.<\/strong><\/p>\n

__________________________________________________________________________<\/p>\n

In English:<\/p>\n

In my opinion, museums are currently in a time of great contradictions. On one hand, inclusive learning is making leaps ahead, with lots of fantastic examples of high-quality and socially important learning projects all over the world. Off the top of my head I can think of examples at the excellent International slavery museum in Liverpool, education about albinism and widowhood by the national museum in Dar Es Salaam and an innovative outreach programme challenging myths about gangs by Hull-House Museum in Chicago. The people leading these projects deserve great praise because delivering these projects is not easy. That is the good news. The bad news is the international funding situation. Obviously this varies from country to country and region to region but most are struggling with the money available to them. With multiple departments competing for funding from the same pot, how do we make the case for audience participation in museum work? Here are a few of my answers to this question.<\/p>\n

1. Modern stories are more accurate when you involve others<\/h3>\n

This may seem obvious but it is often forgotten. Involving non-museum people does not mean replacing academic rigour with anecdotal evidence. It means bringing curators and people from outside of the museum together to paint a holistic picture. At the Museum of London there is an exhibit about the Brixton riots, which happened in south London in 1981. It was co-curated, by museum staff and a group of local people who lived through the riots. Their personal testimony, captured as oral history, gives layers of information and understanding that could not be achieved in another way.<\/p>\n

2. Participation is a method of learning<\/h3>\n

Obviously there are lots of stories in museums that happened long before any of us were born. In these cases, people outside of the museum may not bring memories but they will bring an outsider perspective. Two years ago, the Museum of London co-curated an exhibition about Roman London with people aged 16 \u2013 24, some of whom had studied the period, some of whom had not. They brought fresh ideas and new ways of working. They helped change museum methods. And in the process they all learned about Roman London.<\/p>\n

3. It\u2019s fun!<\/h3>\n

You just wait until you try it. Trust me, I\u2019m not lying.<\/p>\n

4. Demonstrating commitment to your audience, breeds commitment in return<\/h3>\n

When a museum shows that it is interested in involving people in telling the stories of their own place and their own past, they notice. At the Museum of London Docklands there is a small gallery, dedicated to contemporary East London. Each element of this gallery was co-curated with a different group of local people. One part is a Monopoly board, re-designed by local teenagers, one is a series of photographs and audio recordings from local people aged 80 \u2013 100 and one is a map that we commissioned a local artist to create. Local people really connect to these pieces and bring friends and family to see them, again and again. Rather than visiting the museum once, they become regulars.<\/p>\n

5. Museums do not own history<\/h3>\n

Being in the position to tell history is a privileged and powerful one. Museums must not abuse this position by behaving as the custodians of the truth. We all have more to learn. There is always another perspective to a story. The more people can contribute to the stories of the museum, the more relevant it will be to the people who visit them.<\/p>\n

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